“For years now, pop music has been suffused with a vague, or coded, malaise,” Amanda Petrusich writes. “It’s increasingly evident that everyone feels dread and anxiety about the apparent grimness of the world, though they stop short from saying too much about the particulars..” For Fontaines D.C., a young and brainy rock band from Dublin, with post-punk, New Wave, and electronica influences, private existential terror takes center stage. On their fifth album, “Dopamine Chamber,” the quintet wrestles with how to seek pleasure while remaining hyperaware of the devastations of the world. Their “particular pairing—viciousness and smarts—feels scarce these days, when the world’s most powerful institutions seem to prefer that we be anodyne and dumb,” Petrusich writes. Read more about the Grammy-nominated Irish punks who once nearly kept Taylor Swift out of the No. 1 spot on the British charts: newyorker.com/culture/pop-mu…